From elephant-talk at arastar dot comThu Nov 9 07:53:16 1995 Date: Wed, 8 Nov 1995 18:38:07 +0800 From: elephant-talk at arastar dot com Reply to: toby at cs dot man dot ac dot uk To: elephant-talk at anthor dot arastar dot com Subject: Elephant-talk digest v95 #235 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 235, Wednesday, 8 November 1995 Today's Topics: My Great Ideas KC on Conan Nov.14??? Logo, Lark's Tongues -- Othello Re: Elephant-talk digest v95 #234 Jon Hassell Fripp preparing new Live Box Sets Soundscapes 95 RE:ET 233 glenn phillips Re: Elephant-talk digest v95 #234 Re: Elephant-talk digest v95 #234 Re : THRAK etc. Re: Mel Collins Talking Drums and re: KC NYC prices "Network" compilation,vinyl,mellotron & Kudos KC in Housto 11/2/95 RE: Internet World Expo 96 (ET#234) Earthbound Access Re: Crimso & NJ A visit to the Court of the Crimson King ET 232 and 233 reply Sampling et al. ...I'm a Cigarette Electric violins Re: Elephant Talk #234 Bartok RE: FAQ: Whatever Happened To ... (Part 1 of 2) Qs about RF & TLoCG & Soundscapes KC Instruments Melodic Mutations Walking on Air or SSEDD? Mellotronia Magic, Coincidence, Synchronicity King Crimson on TV Soundscapes, vol 1? ET Annie Haslam and friends benefit concert. Re: king C. list EXPERIENCES GIG REVIEW: silver goes to Fort Worth, Oct 31 (fwd) DOUBLE REVIEW: Ft Worth / Austin Gig Review/Personal Observations EXPERIENCE ACCESS E-Talk: Tix for sale New Haven tickets, pleeease Ticket for Nov. 17 Concert in Springfield, MA [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] POSTS: Please send all posts to toby at cs dot man dot ac dot uk The ET archives: WWW Home: http://www.cs.man.ac.uk/aig/staff/et/ Topic Index: http://www.cs.man.ac.uk/aig/staff/toby/et/topics-index/etopics.html FAQ: http://www.cs.man.ac.uk/aig/staff/toby/et/faq.html FTP The Americas: ftp.qualcomm.com, in /pub/et Rest of world: ftp.cs.man.ac.uk, in /pub/toby/elephant-talk EMAIL Send "index elephant-talk" to listserv at arastar dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 95 15:44:23 -0500 From: alan s cohen Subject: My Great Ideas Hello everyone. I've got a great idea (I think) for us obsessive types (I know you're out there). But first some background. Back around the time of the release of "The Abbreviated King Crimson", Fripp was talking about the possibility of releasing special collectors editions. His example was an album of different live versions of "Schizoid Man". I don't know if he actually intended to release this or it was just an example of a Crimson release for collectors. Which brings me to my idea, which has been rumbling in my brain since they toured last spring. The one piece that seems to get the most raves, and not coincidentally the piece which contains the most improvisation, is "THRAK". So my question is, is there anybody else out there who'd like to hear an hour of "THRAK" and maybe also B"Boom? Or do I just have serious emotional problems? I also have another thought. With the release of 2 singles, I'm ready to hear some remixed versions. If you've heard the version of "Darshan" remixed by the Grid, I think you'll agree that it was an amazing version. So whaddaya think? Alan. ------------------------------------------------------------------------------- i000371 sends (ALAN COHEN)... [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 1995 16:20:54 -0500 (EST) From: "P. Psutka" Subject: KC on Conan Nov.14??? Does anyone know if King Crimson are still scheduled to perform on Conan O'Brian Novermber 14? I remember writing that date down a few months ago. Thanks, Paul [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 1995 17:21:21 -0500 (EST) From: Gideon B Banner Subject: Logo, Lark's Tongues -- Othello Something I couldn't help but notice a while back. Being a ridiculous freak, I decided to look up "lark's tongues in aspic" in Bartlett's Quotations. From Othello, III.3.450: "Swell, bosom, with thy fraught, / For 'tis of aspics' tongues!" "Aspics" are "asps", I guess a sort of stinging insect; "aspic" of course is a sort of jelly food dish. Don't know what this has to do with the song, but I thought perhaps there is an intentional connection between the quote and the song title. Don't know how the larks come into it though. Anyway.... About the logo-- I always figured that the six spokes served as a sort of metaphoric representation of the six band members. Should I spend the money on the Europa String Choir and Gitbox Rebellion albums? Would I be buying these albums just because they're associated with KC/Fripp/Discipline, or because they're really good groups that work in the same musical vein? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Peter" Date: Fri, 3 Nov 1995 18:34:23 +0000 Subject: Re: Elephant-talk digest v95 #234 I read with great interest the first volleys fired in the new-but-sure-to-be-around-for-a-long-time Mellotron War. I have to agree with Michael Jeter, but I don't know why, exactly. I think it has something to do with the fact that whether you're emulating a flute, a trumpet, or whatever, you're still playing a keyboard and you're still going to approach the part as if you were playing a keyboard. I have the same problem with guitar synth (ironic for a Fripp/Crimson fan, I know)- it bothers me to hear a "flute" part being played with huge bends and 32nd-note flurries with right-hand tapping, not to mention when it's off a standard pentatonic box pattern. I don't know why this bothers me but it does. Fripp seems to use guitar synth differently- almost like a souped-up effects-processor. I'm not sure of everything I've heard from him since he got his hands on his first MIDI controller but it seems that he doesn't often use it to imitate a particular instrument but rather to get weird new sounds out of his guitar. Mr. Stripling: I'll try not to waste your valuable time with irrelevant material that relates to Crimson anymore, but your message would have been really empty without the clever repeating phrase "What is this s--t!!!" I might have expected that from the Hootie mailing list. To Tefkros Symeonides: If it sounds like Fripp playing the guitar on THRAK (or VROOOM, or B'Boom, OR The Bridge Between), the chances are that it's Trey Gunn on the Stick. As others have said (this seems to be the golden rule), listen for a third guitar instead of a second bass. The Stick covers the entire guitar range, Gunn's equipment setup is similar to Fripp's, AND he was a Crafty Guitarist, so there are definite similarities between his sound and Fripp's. I'm still trying to figure what's what on the Bridge Between. As far as THRAK goes, I'm not even going to dare to try! I imagine the concert will clear up some of it. :) Pete [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: relph at mando dot engr dot sgi dot com (John Relph) Date: Fri, 3 Nov 1995 15:59:53 -0800 Subject: Jon Hassell Jon Hassell does not play on Alice's _Charade_ album. However, Stuart Gordon, violist who played on XTC's _The Big Express_ (and others), does play viola and violin on the album. -- John -- Subvert the dominant paradigm. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 1995 19:22:53 -0500 From: matottls at craft dot camp dot clarkson dot edu (Loren S. Matott) Subject: Fripp preparing new Live Box Sets I too have heard rumors that Fripp is planning more live box sets. These are to showcase the various stages of the band. so presumably one would be the Giles-Lake-MacDonald group and the other the 80's group of Levin-Bruford-Belew. Of course these are just rumors I have heard. (From Yes fans, no less.) well it's goodbye. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 1995 16:55:36 +0800 From: John dot Lukes at Ebay dot Sun dot COM (John Lukes) Subject: Soundscapes 95 Someone in the recent E-Talk digest continued a thread about "not getting Soundscapes" -- Well, all I can say is that I saw Mr. Fripp and the Cal-Git-Trio on their tour last year (in Santa Cruz) and more recently picked up the latest Soundscapes CD ('95)....and..... drum roll, please.... I love it (or to quote Mr. Belew, "I like it!") I put Soundscapes 95 on shuffle repeat and let it flow all day and all night and it supports me in my waking moments and supports me in my slumber. Some would argue that it's not MUSIC if one can have it in the background, but I would argue that it's not music if you can't have it in the background AND/OR in the foreground. In other words, Soundscapes works "up front" or "in the back" equally well. It speaks well to the conscious mind AND to the subconscious mind, as well. Like the sound of ocean surf, it is soothing, yet if you turn it up, it can be quite electrifying and even overwhelming. Go figure. A bit like my life. -JOHN [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: andyw at informix dot com (Andrew Wallace) Subject: RE:ET 233 Date: Fri, 3 Nov 95 18:03:23 PST Thanks, Toby, for this forum - It's been a hoot! (sorry, I've always wanted to use that phrase... 8-) ) Craig Dickson writes about Tony instrumentation... Yes, that is an electric upright bass he is playing these days. Sometimes he bows it, sometimes he plucks it, but it's still a bass. It may be tuned as a double bass instead of a bass guitar, though... Micheal Jeter writes about things... I think the Mellotron is a very cool instrument - gets a sound is unique and interesting. A friend had one for years, though, and said that it was an absolute horror to maintain. As to violin amplification, I saw Jean-Luc Ponty in 1979, and he didn't have much problem being drowned out by the rest of the band... I'm not familiar with the David Cross-era KC (a horrified gasp comes from the audience) - what timeframe is that? And, Trey is still playing a Warr guitar, which is very Stick(tm)-like. He had a new 8-string version when I saw him in Berkeley. I really enjoyed the Berkeley show - it seemed to me that they had gelled quite a bit since June, and had really gotten their collective hands around being a 6-piece. I anxiously await the future of the band... andy -- Andy Wallace If my employer wanted to say this Menlo Park, CA stuff, they would, with no help web: http://www.scroom.com from me. e-mail: andyw at scroom dot com andyw at informix dot com Linux - Genetic Mandate, or Lifestyle Choice? [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 1995 23:18:51 -0600 From: "Scott M. Rochette" Subject: glenn phillips Hello out there...judging by the tastes of the subscribers of this list (good and varied), I was wondering if any souls are fans of the Glenn Phillips Band. They're from Atlanta, and I used to see them once in a while when I lived in New England. Here in St. Louis I have yet to catch them. They seemed to have quite a following in the Northeast U.S. In any case, KC lovers might like them. Glenn Phillips is one of the best guitarists I'd ever seen; unfortunately it seems as if there are only about 100 people who know this...he's probably more unknown than Richard Thompson! He also has some top-notch backing musicians. Well worth a listen if you have the chance. If you have heard of them, I need some info...at last check GPB releases were issued by a small outfit in Minneapolis called East Side Digital. Before that, you could only get the records and tapes either by mail order or at the shows. Does East Side Digital (or Glenn Phillips?) have an email or W3 address? I haven't seen any GPB discs since I bought his greatest hits package in '92 (_Echoes_). Can anyone help me? Seriously, if you have the opportunity to hear these guys in some form, do so. Much cheaper than KC tickets! BTW, why no St. Louis dates for Fripp et al.? I saw KC (first and last time) on 4 July 1984 at the Agora Ballroom, W. Hartford, CT. Interesting show; even have a few pictures from a friend of Bruford, Levin, Belew and Fripp. Thanks much in advance, and my apologies for the general lack of KC content. ***************************************************************************** Scott M. Rochette (314) 977-3133 (voice) Department of Earth & Atmospheric Sciences (314) 977-3117 (fax) Saint Louis University rochette at eas dot slu dot edu ('net) meteorologist: (ME' TE e ROL' e JIST) - a person with the education of a physicist and the pay scale of a 7-11 employee. Disclaimer: Opinions expressed are my own; I don't speak for the Department or for SLU, nor do they speak for me. Nor would I want to. ***************************************************************************** [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 04 Nov 95 00:10:53 EST From: michael jeter Subject: Re: Elephant-talk digest v95 #234 Evil Mellotrons: George Stripling asked why he can't synthesize synthetic sounds. For the record, as far a I'm concerned, you can do anything you want.:-) Many of you hear the 'Tron as an instrument unto itself, not as a n imitator. That is a fair assesment, anmd, I confess, that anytime I use a "string" sound, the last thing on my mind is that it imitates the real thing, b/c it doesn't. Yes, I have heard of Mssrs. Cale, Goodman, and Ponty. They certainly seemed to find a way around the dillema that David Cross spoke about in TGD booklet. Probably had to do with the difference in bass players, Since McGlaughlin and Cobham were, roughly, as powerful as Robert and Bill. But, to my earsd, at least, Neither Rick Laird nor Ralphe Armstrong were as aggressive as Wetton. Michael [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 04 Nov 95 00:49:51 EST From: michael jeter Subject: Re: Elephant-talk digest v95 #234 I don't think I am a luddite, but I can certainly see where people might get that impression given my comments about drum machines, samplers, and mellotrons. I stand by my statement that music would have been better served if the energy that went into the creation of the Tron ahad gone elsewhere. I guess you can sum it all up by saying that I don't care for the sound of the Tron. The same person who accused me of Luddit-ism, is, evidently, an electronic music composer. I am sorry if you took my comments as a slight of you, your art, and those who create in the manner you do. It was not meant that way. I too am a keyboardist, though i am sure not as tal ented as you. I siomply don't like imitative sounds or imitative approaches to synthesis in my work. I prefer to go after other sounds. But, I certainly did not intend any slight to you or any artist who works as you do. Michael [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 4 Nov 1995 16:59:55 +1130 From: tsymeo at zenon dot logos dot hol dot gr (Tefkros Symeonides) Subject: Re : THRAK etc. (as a response to Wataru Ohfuchi's posted message in ET #234) My fellow KC fan, I was as disappointed as you were upon listening to the 81-84 KC albums, and in my opinion only Discipline contains some material that are slightly Crimsoid (Frippoid, that is). But THRAK is a return to Red, not Discipline, Beat and ToaPP, IMHO. "VROOOM" is a masterpiece which not only sounds like "Red" (the song) but was actually written in that time to be released in Red (the album)! "Dinosaur" is also excellent, though it definitely doesn't live up to songs like "Fallen Angel" and "One More Red Nightmare", but that 7-second silence followed by an exhilerating explosion of sound towards the end of "Dinosaur" is ingenious (only Fripp could have thought of that). Mind you, I'm not saying that the other band members are not part of this, but their style is more clearly seen in songs like "People" and "One Time", which are definitely 81-84 period-style (I especially can't stand "People") and also "B'Boom" and "THRAK" which pale in comparison to "Fracture" "LTiA" (both parts) and the rest. "Sex Sleep Eat Drink Dream", on the other hand, is a brilliant song which couldn't have been part of the 81-84 albums, and its lyrics are the only really good ones Belew ever wrote (IMveryveryHO). And I believe both Belew's voice and lyrics have improved. THRAK is far from a masterpiece, but also far from disappointing. It's an album to whet our appetites, I believe, because there's more to come. Regards to the Crimson King (er...that would be Fripp) and all his subjects, Tefkros Symeonides. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Giorgio_Fairsoni at mix dot it (Giorgio Fairsoni) Subject: Re: Mel Collins Date: Sat, 4 Nov 1995 17:16:34 +0200 >From: Jose dot Douglas at turner dot com >Subject: Mel Collins > > I was listening to ISLANDS by KC which I had not listened to in years, > and re-reading the liner notes noticed that Mel Collins played > saxophone & BOZ played bass & vocals. > > In BAD COMPANY's debut album BAD CO. Mel Collins played saxophone & > guess who is the bass player (still is) for BAD COMPANY? No other than > Boz! > > I imagine that it probably is the same BOZ. > Right, Jose! This is the story: during a tour in the States (1972), Collins, Boz (whose real name is Raymond Burrell) and drummer Ian Wallace left the King Crimson and met Alexis Korner, and together with Peter Thorup (a Denmark blues guitarist & singer) formed Snape, a blues band (there are only two records available of this band). Later (1973) Boz formed Bad Co., taking name from a western film. Boz played in the band until 1982, then joined Roger Chapman's Family. As far as I know, Boz has been replaced by Paul Cullen in the reformed Bad Co. Mel Collins is one of the most tasteful and talented musicians I ever heard. Just an example: listen to his beatiful solo in David Sylvian's Gone to Earth (Silver Moon). MC played in most of the more important records of last 25 years. I've heard that a German journalist compiled a list of his recordings and counted *over* 250 published records. I think it's even more, because he played in several Italian productions that never reached the international market. Cheers, Giorgio Fairsoni [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 4 Nov 1995 11:45:20 -0500 (EST) From: Jeffrey D Liss Subject: Talking Drums and re: KC NYC prices Talking drums from Africa are remarkable instruments. Anyone can play with it (you hold it in your armpit to squeeze the strings and change the pitch) and get the funny sounds, like playing with a fretless bass. But a master of it is said to be able to actually communicate with it, with intonations that sound so much like the cadence of speech that meaning can be had from it... at least this is what my friend who travels to Mali tells me. A brief comment about NYC: I was shocked at the prices too and ended up getting tickets for Springfield (and I'm ignoring, with no small agony, the gig reviews to stave off the lack of surprise I felt at the Boston show this summer). But the delay in announcing the shows, etc., gives me the feeling that Fripp & co. are not any happier about the price of the tickets than any of us are. I think it's a small high-quality place that doesn't get many rock acts, mostly off Broadway type things. Jeff Liss Buddhist Studies Every now and then you must defend Yale University Your right to die and live again and live again jdliss at minerva dot cis dot yale dot edu -- 0(+> [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 4 Nov 1995 15:03:27 -0500 (EST) From: MBRADBURN at NARVAX dot NAR dot EPA dot GOV Subject: "Network" compilation,vinyl,mellotron & Kudos As I eagerly await my second seeing (is that like a second coming?) of KC in New Haven a quick post. I recently picked up a compilation of Exposure/GStK tracks on vinyl called NETWORK. I had good photo of RF in sunglasses on the cover and the Track listing is North Star Water Music 1 Here comes the Flood God save the King Under Heavy Manners I belive these are the same versions as the original LP releases. There was an order form for Frejeus & ToaPPliJ videos form JEM in New Jersey. Are these still available?Someone asked about a remastered LTiA. Weren't all the Pre-Disipline albums released as EG Editions (Collectors)?. I was able to get this version of SaBB at the same record store in Providence (In Your Ear) for $5 US. They also had 2 LTiA-Red era boots (inc BBC shows). I don't buy boots so I have no idea as to thier quality,tracks. I also got a new cartridge for my turntable and was able to finaly here my Japanese pressing of Disipline. Great and I do like it better than the CD even this the extra noise. The CD doesn't seem to have the punch, clarity, separation of the vinyl(not to start the CD/vinyl debate going. Are there any 1/2 speed mastered KC vinyl(ItCotCK?)? About the mellotron thread, I was reminded of Bono's (No Flames Please) acceptance speach on one of the Grammy shows. I think it was for Unforgettable Fire. With Eno on stage (and me ranting to my wife, That's ENO!! on the Grammys) Bono (I paraphrase) said "it's not about whether you use a drum machine, or whether you chose to wear your heart on your sleeve, but whether you choose to conceal or reveal". Robert said (Article in GP on the coldness of his GC column and what he thought was emotion in playing music),a simple question, is the music/musician true. If a mellotron is what was available or real strings/horns isn't it more important how that particular sound contributed to the music at that moment. Personally I like the quirky quality that the mellotron adds to KC past and present,( I only wish I had one). I wonder if Robert ever played a Therimin?. I recently saw Birdsongs of the Mesosoic and Eric Lundgren had a new one, so somebody must be making them again. A Therimin break in THRAK or Dinosaur, Hmmm? Well just some kudo on recent issues, then i'll stop spewing! Thanks to: silver Harlowe,Alan Emonds - Great GIG reviews, some of the best in ET this tour. This list continues to be a high point in my week and personal, objective reviews that attempt to describe the moment/meaning of this band and share that with other followers, just wonderful (although my lack of will power not reading reviews did remove the suprise at the VROOM/ Larks Thrak in the audience segment of the RF/CGT/Gachos show in NYC. Oh well you play, you pay!) Tom Ohsawa - Great posts/reviews especially the Hideyo Moriya interview Damon Capehart - Thanks for the transcription - makes you almost think some music critics are actually human beings! And as always Toby, The Great Moderator, Father Christmas should be especially nice to you this year! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 4 Nov 1995 14:20:05 -0600 (CST) From: PRM6881 at ACS dot TAMU dot EDU Subject: KC in Housto 11/2/95 First, I hope I'm sending this to the right place... this is the first time I've tried to post on ET. The Houston Show was excellent on Thusday - Did anyone else notice that when Fripp came on at the beginning of the set, he was playing one of the "Radio" interludes/soundscapes from Thrak? (the first one). I think this qualifies as having listened to that album way too much. Another interesting moment was being introduced, by a guy sitting behind me who I was talking to, to someone I had chatted with on the phone and met here in College Station but never actually met. Apparently they'd both been to the Austin show. As for KC, it was interesting hearing so much music (4 songs) off Discipline... does anyone know if there's a reason they're "featuring" those songs/that album, or if those just happen to work out better with this lineup? Phil [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: Jukka Kukkonen Subject: RE: Internet World Expo 96 (ET#234) Date: Sat, 4 Nov 1995 22:53:52 +-200 Tom Ohsawa's proposal of joining in the Internet World Expo 96 is = interesting, but is it feasible? It might be possible to have a Fripp or = King Crimson pavilion included. How about Fripp playing soundscapes = live, IRL, all over the WWW? From the musician's point of view, it might = be fun to play without the troubles of travelling that traditional = touring demands. This will become the reality soon enough even without = the Expo, which is designed mainly by and for the Dinosaurs. - Jukka [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 4 Nov 1995 19:41:34 GMT From: crimson at blackcat dot demon dot co dot uk (ET Mailing List) Subject: Earthbound Access Ivo Steyn wrote... > I'm deeply impressed by how many people actually got into KC by hearing > their first album, ITCCK. I must be one of VERY FEW people to actually get > into KC as a result of hearing, wait for it, Earthbound. Likewise. When I was in my mid-teens I was one of those losers who liked Genesis more than any other band in the world. All that Gabriel ponsing about impressed me. 'Suppers Ready' was something wonderful to behold. Phil Collins could really drum well. They played some stuff with funny time signatures which made you feel you were listening to something cleverer than your friends' music. After reading 'I Know What I Like' I learned that collectively, Genesis had listened to 'In The Court of the Crimson King' and had been floored by it, choosing to use this as a new kind of direction. I, of course, lapped this up and - having less than no cash - immediately swanned off to the nearest second hand record shop to get whatever King Crimson I could. Naturally, the only King Crimson record you *ever* find in second hand shops is 'Earthbound', but how was I to know what was in it? When I got it home I was, to put it mildly, horrified. I really thought it was bloody awful. The opening track's title, I confess, I had heard of, but the sheer racket that the hifi made was appalling. The rest of it was, frankly, nondescript, apart from the massive drum thing at the end of side two which bored me insensible. I really thought Hackett and friends were looneys for listening to this stuff. It was shelved and all but forgotten. Then there came a rainy November afternoon when I had nothing better to do than dig out long-forgotten records and give them a spin. Needless to say, 'Earthbound' was wheeled out and I played it. The effect was like aa revelation. For the first time I started *listening* to it instead of simply recoiling from it. This was Evil Music. This was Big Ugly Chord music. This was Bitchen Music. The guitarist seemed to have a supernatural control over his instrument, and the bassist I noted could hardly play but what he *did* play was Really Hard. I suddenly realised that I was missing something fan-bloody-tastic and had to get the other records. The next was ITCotCK which knocked me off my feet. This was *really* how bands were supposed to sound! Within two weeks I had bought them all up to and including 'USA'. Life wasn't going to be the same again. I haven't played 'Trick of the Tail' since. :) ------------------------------------------------------------------------------- Mike Dickson [Team OS/2], Black Cat Software Factory, Musselburgh, Scotland mike at blackcat dot demon dot co dot uk - Fax 0131-653-6124 - Columnated Ruins Domino ------------------------------------------------------------------------------- [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 4 Nov 1995 17:28:14 -0500 From: CptnApathy at aol dot com Subject: Re: Crimso & NJ >Maybe someone out there has the asnwers to these questions > >2) I've asked about KC and New Jersey jokes before and no one seemed to >have asn answer. I'm stil curious. In "The Abbreviated King Crimson", New >Jersey is mentioned in the linear notes (which I think were written by >Fripp): > > "Generally, the group's [King Crimson] was worthy of respect, >prasie, and avoidance at various and same times. Hordes of earnest young >men from New Jersey would probably agree." > >This only confused me further still. With this quote in mind, can anyone >enlighten me on the relationship between King Crimson and New Jersey. > > - Sasha I think it (in part) has to do with the fact that EG records used to distribute the Crimso material via a small company (Jem Records) in South Plainfield, NJ. If you look on old Crimso cassettes, you'll see the Jem Records label on the back. Unfortunately, the company is no longer there. I had purchased an old cassette copy of Exposure which had an address for a music catalog, and my letter was returned ("no known forwarding address."). I used to live in NJ, too. I guess I should have gone on an exodus to try to find the place. Hope that helps to explain it. --Jeremy [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sat, 4 Nov 1995 21:34:53 -0500 From: MRKOC at aol dot com Subject: A visit to the Court of the Crimson King Hello again. I didn't think I'd post again so soon, but after reading Greg Fraiers' psting in ET#233, I couldn't help but see some comparisons to what I'd said about Fripp's cunning work on Damage. Although Greg elaborated on what I'd implied in my posting. But what really made me think was when Greg said: >One last thing..... Something that I have always been curious about, is >how people got into KC. Oddly, my introduction to King Crimson came in my freshman year in high school. Our English teacher, Mrs Ross, was absent for several months. We had a series of substitutes, including a Mr Terry Johnson, fresh off the teacher assembly line. He looked like a hippy, and when it came time to study poetry, he opened our young minds to the works of Pete Sinfield. He actually played the album for us, and in the process he changed a few lives. (He was later dismissed for showing a film which some students considered pornographic...but that's another story.) I didn't pick up on the band again until the Cross, Fripp, Wetton, Bruford incarnation about three years later. By the time RED was released, I had completed my collection and was pretty anxious to experience them live. But by then it was too late to see them in concert. So I'm very grateful that KC will be returning to Chicago later this month and I'll give you a full report after the show. Glad to see they're changing the program for this tour. One last note, for any or all inquiring about Fripp's work outside of KC, check out Bowie's HEROES and SCARY MONSTERS. Kevin O'Connor [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: stehelin at citi2 dot fr (Dominique Stehelin) Subject: ET 232 and 233 reply Date: Mon, 6 Nov 1995 10:27:46 +0100 (MET) Hello, toby, and by the way, I say hello to you all on the forum. I just picked up E.T. #232. Full of info, full of questions to ask, full of comments to make. It's gonna look rather confuse. Many excuse for it in advance! So, so, so... Does anyone knows what happend to Paul beavis (this so wonderfull drumming on "Sunday all other the world", and on "Ophelia Shadow"from Toyah? Hey, what is this stuff about Mr Bungle, are you serious guys??? Hey someone tell me!!! I read somewhere that there were complaint about Mr Fripp being in the shadow diring whole. We all know, especially musician how it's hard to keep connection to Music (as a transcendantal entity) with full and complette dedicated transparence. This is hard work, was part of the subjet of the crafty seminars, as long as I suppose it, and we all know how Mr Fripp favors excellence of transparence on facial engrossment on stage. I heard the same disapointing remarks from people that obviously missed the point after the sylvian/ Fripp road to graceland tour in Paris (I'm french). But it was the shock of my life. I was a bit away from KC for a time when "SAotWorld"took me back in place. Unfortunately, I miss the show, as well as I could not see Toyah with Tony Geballe, Trey Gunn and Paul Beavis (was there only a tour for this album?). Then came "the first day". The album was a shock, but nothing like the show. I use to say it changed my whole life as a musician (I happen to play a variety of differently tuned fretted and unfretted guitars, bass, Chapmann Stick and Keyboard) but also as a human being, because, music is more than part of my life. During the show, it was like no one on stage was aware of the existence of a public in the place. But never in my life, I had seen people so strongly "inside" what they played. Such a strong dedication resulted in touching part of us that were prepared. Sounds like a religious thing, he? Sorry, but to me it happend to be some kind of revelation on the way to work, the exact meaning of the word "gift". More about these later. All this to share my impressions , and to tell everyone that intensity in not connected to stage lights/explosions/moves and so on. Besides, I've been thinking a lot during the KC show in paris (nothing like the one in the House of Blues told on this forum, mostly no words, Fripp stood in the shadow, music only, but dedication. Definitely a very great show). Especially on guitar sounds changin, and someone said Fripp used a Roland VG-8. Does someone knows? It could explain a lot. This morning, had this #233 issue of ET. Hey, guys, do you sometime sleep?? I haven't even finish my comments on #232! This gonna seem odd, I thinking/writing almost by immediate reaction to what I do read. No one is telling about this Tony Child album with Trey Gunn and Fripp, neither of this Rimitti album with Fripp and (late, we sure miss the man) Zappa horns/sax section. IT'S IMPOSSIBLE (to achieve the aim... ok...) HERE IN FRANCE TO GET THE TONY LEVIN "WORLD DIARY" ALBUM. or the KARN/TORN/BOZZIO "POLYTOWN". PLEASE SOMEONE HELP ME!!!! On Guitar tuning. Beside my fifth tuned guitar (influence of the New Standard, but not it, since it's goes from fifth to fifth A to G# try it!), I have a solution for perfect intonation: go fretless, boys! Easy to try for next to nothing. Get a bogus- caster, or a cheap O' guitar, and do it by yourself. leave inlays of wood of a different color in the holes of the late frets (perfect help to aim the note, but remember, help only, since the note is not anymore were the frets used to be). To finish my first attempt to reach you all, and to ease your pain: tickets in France are quite never for such shows, under around 40 bucks. It goas up 50. EVERY CD HERE is beetween twice and 3 time the price you pay (in the US, I mean), so.... Waoh! t'was worth the time writing. Read you all as soon as possible. Olivier Malhomme. Note, there is a little change in my E-mail adress. Now it is as following: STEHELIN at CITI2 dot FR (please, if you contact me, mention my name in the subject since this adress is the one of my whole lab. Thanx). [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Mikael Kivela" Organization: Sibelius-Academy Date: Mon, 6 Nov 1995 10:55:50 +0300 Subject: Sampling et al. I'd like to express some of my thoughts about sampling and synthetic sounds. So here goes: 1. Some of you out there hate samples and synthetic string sounds etc. but do you have the same kind of attitude towards speech or sound FX samples? Are Brian Eno and David Byrne trying to create an illusion of a real people performing their neatly written parts by using samples of human speech on most of the songs on My life in the Bush of Ghosts? Honestly, I don't know but they have managed to create some excellent music with a personal touch. 2. So IMHO samples can be used in the same way as pictures in a collage. Samples can create allusions and have several effects depending on the listener and that makes them so interesting to me. I don't want to use a drum loop to make drummers extinct. On the contrary I use a loop to have a certain kind of hypnotic groove and I - if possible- prefer some live percussion with it to make it more organic and even more groovy. For a good example try Mantra on the Material CD Hallucination Engine. 3. Just to make my point clear: Samples and synthetised sounds are just a fraction of the infinite palette of tonal colors. You can use, hate or ignore them, but the possibilities they offer do exist. If somebody wants to make computer images using scans of some Van Gogh's paintings he may or may not come up with something new and exciting, but IMHO he's not going to turn more of less traditional brush using artist into a pile of useless relics. A synthetic string section is a bit like a CMYK color print in a water color painting. The overall impression depends on all the elements used. As Marcus Miller once put it: " They can sample me up and down my bass but they won't be able to get me." MJK Cuios testiculos habes, habeas cardia et cerebellum. (A proverb of the Quisition) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 5 Nov 1995 14:31:58 -0700 (MST) From: ecerb at indra dot com (Elaine C. Erb) Subject: ...I'm a Cigarette I found an EP at KGNU, our public radio station, called Four From Exposure. This actually has the credits for the musicians on the tracks. Listed for You Burn Me Up I'm a Cigarette are: Robert Fripp - Guitar, Frippertronics Daryl Hall - Vocals Jerry Marotta - Drums Tony Levin - Bass So much for the guy who was trying to convince me that Fripp(!) sang that song. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Sun, 5 Nov 95 20:30:12 EST From: david at visix dot com (David Charlap) Subject: Electric violins "Johannes Korn" writes: > >From my experience - playing violin in a rock band myself - the main >problem is not the amplification. In theory, you could plug in a violin >into a Marshall stack and turn the volume up to maximum. But if you use a >normal acoustic violin with a pickup, you will get lots of feedback (same >problem with acoustic guitars, by the way). The only remedy probably is an >electric violin without a resonance body (just a stick of wood, as it >were). Such instrumments exist. If you ever have the opportunity, I suggest you seek a live Kansas concert. They use a violin live on stage. Sometimes the instrumment you just described (a stick of wood with pickups, played like a violin) is used. It sounds remarkably like a real violin, but with a unique electric bent to it. At other times, Kansas uses an ordinary accoustic violin with a microphone wired into it, much like accoustic guitars are amplified. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: "Johannes Korn" Date: Mon, 6 Nov 1995 14:10:49 +0100 Subject: Re: Elephant Talk #234 > Anyway, a question which I'm sure has been asked & anwered many times > (although I haven't seen it): what's the meaning -- if any -- to the KC > logo? As someone who's in the advertising & marketing biz, I'm always > curious to learn about the underying process used in creating such > symbols. My guess is that -- like many good logos -- it's a metaphor for > something...but what? Or, maybe it's just a Rorschak (sp?) that mutated? > I always thought it was a combination of a 'K' and a 'C' turned sideways. > > Incidentally, I'm deeply distressed by the increasing percentage of > 1981-1984 KC material in their current gigs. I've already admitted that > those three albums are not among my favourites, and frankly, I can't see > why bits like "Three of a perfect pair" and "Neurotica" should get played > while other, in my opinion worthier items of the KC catalog like LTIA1, > Discipline or even some of the Fripp solo pieces (Can you imagine the > current KC playing NY3 live!?) are ignored. But I suppose everyone's > bitching that their favourite KC bits are not being played. The current > six-piece is just so damn powerful... At their concert in Stuttgart, in May this year, they actually did play discipline as the first song of the show. I was very pleased, 'Discipline' being one of my most favorite KC songs. (to be honest, when I heard it first, I found it really boring. Only several years later, I discovered the song for me.) Godbye, Johannes [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 06 Nov 1995 17:37:15 +0100 From: tajthy at ind dot eunet dot hu (TAJTHY Tamas) Subject: Bartok Dear LIST! >Date: Tue, 24 Oct 1995 20:48:47 +0300 >From: j at vrooom dot pp dot fi (Jukka Kukkonen) >Subject: Fripp's guitar solos (re: ET 230) [...cut...] >BTW, also the title track from "Red" was never played live until in >Argentina in 1994 (released on B'Boom). It has some dark Eastern European >Bartok-like modes, just like VROOOM and especially VROOOM VROOOM. Sorry but I dont't understand this. Do U know anything about this, so called "dark Eastern European Bartok-like modes"?? What does it mean?? I'm Hungarian, so I'm somehow involved in this stuff and really don't understand You. It sounds very damn. Pls. describe what You mean?? Biiig bye From: PS: Hi relative! # TAJTHY Tamas ( Compu$erve: 100263,453 ) # Shaman Research Ltd. or EgoSoft International # These are not real companies! Just aliases! [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 6 Nov 1995 09:02:13 -0700 (MST) From: "J. Abbott" Subject: RE: FAQ: Whatever Happened To ... (Part 1 of 2) Adrian Belew did in fact tour with Laurie Anderson and does appear on Home of the Brave. Now you can be 100% sure. ;) -John [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 06 Nov 1995 17:37:09 +0100 From: tajthy at ind dot eunet dot hu (TAJTHY Tamas) Subject: Qs about RF & TLoCG & Soundscapes Dear LIST! I tried to ask the following questions form DGM, but they said I rather ask this list. I don't really know how can it be a list knows more about products then the company who produced them, but I make a try... >#1 On the R.F. 1999 - Soundscapes the 5th soundscape (2002) end very suddenly. >It is cut (I think). Why??? > >#2 On the R.F. & The League of Crafty Guitarists: Intergalactic Boogie Express >there is a looooooooong gap after the 19th song (Wabash Cannonball). At 2:22 >the appulse is cut suddenly (again) and at 3:22 (60 seconds gap) R.F. makes an >announcement about the press photos. IT IS GREAT!!!! but Why is there this 60 >seconds silence?? And why is it the same song??? > >#3 On the same CD there is a 20th song, which starts from -2:52. So again there >is approx 180 seconds nothingness. Why? For me it looks like Island. There is >also a 60 seconds gap at the end and after that R.F. sais something... It is >very funny. This last song also a great one, why is it not written on the >cover?? Thanx in advance and biiig bye From: # TAJTHY Tamas ( Compu$erve: 100263,453 ) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 6 Nov 1995 09:50:50 -0500 From: jconnoly at ma dot mew dot com (joseph connolly) Subject: KC Instruments dear friends, the recent discussion about the mellotron misses the point, i think. it's the music that is made with whatever instrument that counts and which has lead all of us to KC. robert playing his vintage les paul with fuzz and volume pedal versus his new midi setup shows it's not the instrument but the artist that makes the music great. sure there are new sounds to work with but the creative impulse still has to flow thru the musician. KC has used the sound of ancient instruments, talking drum and kalimba and integrated it with electric guitar and amps. those old mellotrons had a sound and KC used that sound to it's fullest. it was not made to be a replcement but a new instrument. KC has worked with but real strings and "synthesized" strings all to make the best possible music. and damn they have done it! thanx joe connolly [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 6 Nov 1995 15:18:03 GMT From: neputnya at fishnet dot net (G Garner) Subject: Melodic Mutations Interesting discourses on the appearance of LTIAp2 in a soft-porn flick. How about some reappearances of early GGF/KC tunes on later recordings by the same? The opening of Dinosaur (as someone pointed out previously) is pretty much the same riff as on "Cirkus" (didd eye spel thatt wright?) from the "Lizard" album. (I tried to think of a witty Lizard/Dinosaur pun, but failed miserably) Two more, that I know of. "Suite No. 1" from TCIofGG&F grew up and became "Song of the Gulls" on "Islands". Also, I think an early version of "Cadence & Cascade" (ITWOP) was on "McDonald & Giles". Different title, different lyric, but major melodic similarities. Mabye someone can confirm, since my LP of "McD&G" has long since died a painful but gallant death. Another little tidbit for you - - on GG&F, "Erudite Eyes" features some guitar lead Frippery (just a few lines) that he incorporated into the guitar lead on Schizoid Man (recreated of course, not magnetically lifted). I find these snippets of musical-based trivia far more interesting than say, the disposition of Jamie Muir's fingernail clippings, or asking if anyone knows if Bill Bruford regularly showers after each gig. By the way, does anyone know if the members of King Crimson prefer the bathroom tissue to roll over or under? - I relieve myself when under stress - Bye, GRG. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: aprasad at ccs dot carleton dot ca (Anil Prasad) Subject: Walking on Air or SSEDD? Date: Mon, 6 Nov 95 18:05:35 EST Just picked up the new Crimson EP. Although the inserts say the single is for SSEDD, the outer labelling claims it's a single for Walking On Air. Anyone know what the hell happened here? Seems like a strange wreckord company botch up. ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ Anil Prasad aprasad at ccs dot carleton dot ca ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ Visit the INNERVIEWS website featuring in-depth interviews with some of the world's most interesting and innovative musicians! http://www.carleton.ca/~aprasad ~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~'`^`'~*-,._.,-*~ [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 7 Nov 1995 15:59:30 +1300 (NZDT) From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan) Subject: Mellotronia Michael Jeter wrote (and Rob Martino replied): >>IMNSHO, the mellotron was the third most terrible thing to happen to >>music in the last thirty years [...] >Actually I find the mellotron to be one of my favorite keyboards in that >it doesn't really sound like a string section that much but has it's own >unqiue tone due to the technology used for it (type of speaker it used, >tape mechanism, etc.). I would have to agree. If you try to think of it as a synthetic string section, it suffers by comparison to a real string section, but the sound of a mellotron is unique and can add something to a song (when used properly) to lift it away from what it would otherwise have been, and into better piece. As an example, I cite XTC's "All you pretty girls". When used as a soloing instrument, its effects can be equally striking (here I cite Greenslade's "Tide" - anyone remember them?) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Mon, 6 Nov 1995 23:48:40 -0600 (CST) From: Dixie Gene Ross Subject: Magic, Coincidence, Synchronicity Greetings Crimso's I was thinking about reviewing the K.C. Austin show but while drinking coffee and listening to Fripp's A BLESSING OF TEARS this morning I decided to address the phenomenon of synchronicity involved with Fripp/K.C.music instead. Back in 1973 I placed a teapot with water inside to boil for my morning coffee on the stove. Then I put my LP of LARK'S TONGUES IN ASPIC on the stereo. During the intro of LTIA pt 1, right when Fripp's guitar comes in, the harmonica-type whistle on the teapot blew a 1-3-5 chord perfectly in time and pitch with the music. In an interview with Fripp I read back in those days Fripp said that he was not interested in music, he was interested in magic and music was just a means for magic. This magic of coincidence, as I called it, happened quite often while listening to LTIA. After further research into this phenomenon I learned the psychoanalyst Carl Jung called this synchronicity. Over the years while listening to other Fripp/K.C. releases synchronicity happened often. There has always been magic involved in the music and events surrounding King Crimson. When I got my copy of B'BOOm my CD player was in the shop being repaired. At that point I had only heard this incredible CD on my boom box. Weeks later I got my player out of the shop and while hooking it up to my main sysstem I played Fripp's 1999 on my boom box in the next room. Somewhere during 2001 I had it ready to go. I remembered reading in ET a post about playing The Heavenly Music Corporation with Fripp's soundscapes so I decided to put on the Essential Fripp and Eno CD to test my system. The blending of these two musics was captivating and as eager as I was to play B'BOOM I was compelled to let them play out to the end. As 220 and Heavenly Music Corporation were coming to the end I opened a window and at that point an airplane flew over. With its propeller ripping through the air it droned perfectly with the atmospheres inside my house. About a month later I was standing near another window reading the Basis of Eulogy for Edie Fripp from A BLESSING OF TEARS. Right as I read about Fripp seeing a pigeon fly above him another plane flew over droning as the other one had before. Last week I attended the K.C. show in Austin. It was general admission and as I took my seat I noticed I was sitting right next to Rex Bozarth, a bass player I had been in a band with back in 1974. This band did great covers of 21st CENTURY SCHIZOID MAN and THE GREAT DECEIVER. I hadn't seen Rex in years. He came in from out of town to see the show. We talked how we had both seen lightening in the sky that night. The significance here was the band's name was "Blitzen." The show was great, a good night for both CGT and K.C. After the show and talking to Paul Richards of CGT and buying the Invitation CD a friend and I walked to a local brew pub to have a beer. As we walked in the door DISCIPLINE was playing loud on the radio! How does this synchronicity happen, or what is the cause of these events? I do not know. But what I've learned is Fripp/King Crimson produces wonderful music that enables the active listener to participate in extraordinary and sometimes personal events that transcend the usual musical experience. I LIKE IT! Dick Ross / Ross motto: "Spen successus alit" (Success nourishes hope) [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 7 Nov 1995 10:30:32 -0500 From: DMB5561719 at aol dot com Subject: King Crimson on TV ----> LATE NIGHT WITH CONAN O'BRIEN, NBC ----> Tu 11/14 Susan Lucci, Wolf Blitzer, King Crimson Yipes! David Beardsley dmb5561719 at aol dot com ************************ IMMP music recordings: ************************ send email for a catalog of this ************************ strange beautiful music. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 07 Nov 1995 15:02:44 -0500 From: DaLane at oxygen dot bbn dot com (Dave Lane) Subject: Soundscapes, vol 1? Organization: BBN Domain Corporation Hi boys and girls, I just picked up "A Blessing Of Tears", which I enjoy far more than "1999" & "Let The Power Fall", and almost as much as "Essential Fripp & Eno". Why is this considered Volume 2 of Live in California? Where is Volume 1? I understand that it's supposed to be entitled "Radiophonics". Have I missed its release, or are they getting put on the market out of sequence? --Dave [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Tue, 07 Nov 95 09:56:14 EST From: "Segal, Adam" Subject: ET A few responses to the last ET: grant green comments about a Brazilian instrument which has a stick attached to the drum head. He likens the instrument to a talking drum. The instrument in question is a cuica and has been popular with jazz musicians. It is not at all like a talking drum. A talking drum (which I believe is West African) is as described in the last ET: an hourglass shaped drum where the tension on the heads can be modified by pressure on the strings that attach the heads to the body. A cuica has a stick attached to the center of the drumhead and is played by rubbing the stick, usually with a wet cloth. This vibrates the drumhead producing a squeaky sound. The cuica is not played like a drum. Another poster mentioned Genesis referring to the mellotron as a Quigleytron. Fripp has also used that term; at least he does in a 1974 bootleg that I have. Whether Genesis or Fripp originated the term, and whether it indicates a level of disgust on Fripp's part with the mellotron, I don't know. Another poster wondered if the Boz of Islands and the Boz of Bad Company were one and the same: they are. Boz was taught to play bass by Fripp, and then left Crimson after Islands and Earthbound to form Bad Company. Several people have mentioned Levin in connection to upright bass. Not having seen the latest Crimso tour I can't say what he plays, but he used to play upright (unamplified) bass. In the late 60s, Levin was a member (with Steve Gadd) of the Gap Mangione Trio, and contributed excellent upright jazz bass playing to an album entitled Diana of the Autumn Wind. I am wondering if other ET-ers have information on Levin's career at that point in time. Levin contributed to all the Gap Mangione albums I have come across, but the ones from the mid-70s are basicly disco albums with a jazz edge. Does anyone know of other early Levin recordings or of other Gap Mangione recordings from the 60s? I believe that Gap and his brother Chuck also did some recordings under the name the Jazz Brothers in the mid-60s; does anyone have those records? For the record, while people are digging up unusual Fripp record appearances, I would like to point out that Fripp produced and appeared on The Roches first album. Fripp, Bruford, and Levin (with Fripp producing) all apear on The Roches third album, Keep on Doing. The idea of Crimson and The Roches together may seem odd, but it works, mainly because Bruford plays, as he has often before, with "admirable restraint." adam segal-isaacson a dot segal at elsevier dot com [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: mathias thallmayer Subject: Annie Haslam and friends benefit concert. Date: Tue, 7 Nov 1995 19:40:24 -0500 (EST) TUE NOV 21 Irving Plaza NYC 8PM Annie Haslam is proud to present Lily's In The Field A benefit concert for orphans in Bosnia-Herzegovina. Featuring Justin Hayward, Steve Howe, Phoebe Snow, Gary Brooker, Roy Wood, Cheap Trick, Ian McDonald, and Annie Haslam. Hosted by Al Franken (SNL). Ticket Info: Irving Plaza & Ticketmaster $22.50 Reserved, $19.50 General Admission [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 8 Nov 1995 11:12:22 -0400 From: amcldwl at mailserv dot mta dot ca (Sugar) Subject: Re: king C. list hey there! Have I got the right address? Hope so! Well, this is the thing, I'm a very new reader but also an ignorant one, I'm 19 and I found KC in amongst my dad's excellent record collection, fascinated by the art work in ITCOTCK and ITWOP i asked my dad about them, i'd never heard of them before, he suggested I listen to them and i did and LOVED It!!! I was hooked from the very first time!!! I was under the assumption that they broke up and never got back together, in fact my Dad thought that there might be one more album. I was shocked but extremely pleased to find out that there are many more but try as i may I can't find any of them!!!! I have been searching high and low for about two years and all i have found was a ITWOP which i quikly snatched up. Maybe it's cuz I'm in Canada, I don't know. Is there anybody out there who knows where I can find KC? I'm interested in anything after ITWOP. -Amy Caldwell amcldwl.mailserv.mta.ca > [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] GIG REVIEWS [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 1995 15:15:33 -0600 (CST) From: silver Subject: GIG REVIEW: silver goes to Fort Worth, Oct 31 (fwd) *The Brief Review* on a scale of 0-10 where 0 is abysmal and 10 is perfect The Trip: 1 California Guitar Trio: 9 The Audience: -20 King Crimon: 15 *The Rambling Review (SPOILERS follow the bit about my trip up)* The Trip: it was rainy most of the way there and all the way back. 180 miles from Austin to Fort Worth. What made it so bad was that my driver's side windshield wiper decided to only work some of the time, requiring me to stick my hand out of the window and adjust it several times, and stop and buy a pair of pliers (the tools my parents gave me for such occasions sitting, conveniently, in my utility room :( ) so that I could stop and periodically tighten the nut holding it to the part that moves. What's worse, my sun roof sprung a couple leaks (I never open it) and my driver's side window decided not to close correctly without undue force... which I just discovered after having to stick my hand out the window to grab my windshield wiper. Yuck. Fortunately, I went alone. I would not have wanted to subject someone else to that kind of trip. Aside from which, the lady I really wanted to take is married, only interested in seeing me as a friend, and expressed a fervent disinterest in seeing King Crimson when I asked her. Wise on her part ;). It was my first time to Fort Worth, but I found the auditorium fairly easily following the directions of a coworker who used to live there. I showed up 40 minutes early and went ahead and went in and sat down immediately, being somewhat frustrated from my drive. I couldn't afford any t-shirts since my pay didn't come today like it was supposed to. Lame. The California Guitar Trio: what can I say? these guys were worth the price of admission just for their 35 minute set. They did the theme to the Good, the Bad, and the Ugly (I'm sure there's a name for that song, but I know it not), they did Bach's Tocatta and Fugue in D Minor, they did bits of 21st Century Schizoid Man. They did another piece that might have been Bach or Beethoven, I recognized it, but not well enough to name it. They did some other stuff that was pretty good (couldn't tell what they wrote themselves, if anything). They never said a word the whole time. Just sat down, played, and then stood up to take a bow. After they did that and got a standing ovation, they played another song standing up, including a little dance. Of course, I notice from past gig reviews that they did that at just about all their shows. Yes, they were good enough as openers to do an encore of their own. I wouldn't mind seeing them play for more than half an hour at a later date. They did some really beautiful stuff. Unlike reviews I've read about them, their lighting changed some during the performance. Switching colors between songs. Still, very subdued. The Audience/King Crimson: Well, I had 2d row right-of-center seats, right by the aisle running between the center section and the right section, which was a damn fine vantage point for the show. Before the show, two guys behind me were talking endlessly, repeating the same things over and over in different words to each other. It was obvious they were in perfect agreement on what they were 'discussing' and it seemed strange they had to affirm that agreement more than say, oh, 5 times, but they did. That wouldn't have been so bad, but they kept talking through the show, usually chiming in right over quiet moments in the music. I HATE people who don't respect music enough to keep quiet for the quiet parts. During CGT's set, the audience yelled a number of disparaging things, and tried to summon Fripp a couple times, and was generally annoying. Then the Crimson show started. They did some intro soundscapes, then a little improv, which stopped when Belew signaled them to. The set up was 'standard' - Mastellato, Fripp, and Bruford across the back, Gunn, Belew, and Levin across the front. I was right in front of Levin and Bruford. Just to my left, I had a perfect view of Belew and Gunn, as the aisle was just wide enough to leave no people obscuring the stage... They were all wearing 'formal' attire - black slacks, bowties. Levin and Fripp had vests. Fripp's shirt wasn't tucked in, though. Bruford was wearing a banana yellow suit and coat, which matched his drums. For those who haven't seen them, Mastellato is a large guy with medium wavy light-brown hair. Fripp is short, most of his hair is buzzed down to 'minimum length'. He sits the entire show. Bruford is tall, has curly blonde hair on top and a big smile (thick lips). Gunn looks kinda like me without glasses (see my web page), except, of course, he looks cool ;). Belew has a receding hair line and long hair, and smiles a LOT. Levin is bald and sporting a mustache... Anyway. After the 'stop', they play Thela Hun Ginjeet. After that, Belew says something about this being their first show in Texas and tells us "we have some scary stuff in store for you tonight, so hold on to your pumpkins". They proceed in pretty much the order below... the stuff not marked with astericies might have been in a different order, I lost track: * Thela Hun Ginjeet People Red Frame By Frame B'Boom - with a kinda extended soundscape intro by Fripp THRAK Neurotica - Having not gotten around to getting Beat and Three Of A Perfect Pair - ToaPP, this was the first time I heard these two songs. I liked Neurotica. the phasing of the guitars reminded me of Discipline (my favorite song which I wish they'd play) Right around here, Belew takes a talk break and says "how ya doing?" and, mysteriously, I guess because the music is 'scary', asks "anyone hurt?"... or maybe he saw something in the audience behind me... strangely prophetic question, though. VROOM - no coda :( One Time Sex Sleep Eat Drink Dream Dinosaur Elephant Talk - bass improv/intro by Gunn and Levin. Leving flubbed first three notes of Elephant Talk and started over, which was amusing * Indiscipline During most of this, the audience is fairly rowdy. Between songs, they yell requests. They are totally unwilling to be drawn into the show. Then, during Indiscipline, wherein it's apparently traditional to try to say something back to Belew, the audience yells incoherent and/or stupid stuff... to top it all off after Belew says "I carred it around with me for days and days, playing little games, like - not looking at for a whole day, and then looking at it, to see if I still liked it" this guy 3 rows behind me yells "was it your own s--t?". I was supremely unhappy. I was reminded of reading somewhere in ET about Fripp having felt a need to tell people in Fort Worth years ago to be quiet and listen more attentively. I was embarassed for Texas. That wasn't the worst. When they all stood up to take their bows and stuff, this one person decides that the band really needs a personal message, and proceeds to throw it up on stage. From the arc it travelled, I imagine it was more substantial than paper. Probably a cassette tape or something. . It pegs Robert Fripp on the head. ROBERT FRIPP, and it hits in in the head! the entire audience started booing and the band quickly left the stage. Robert was holding his hand to his head the whole way. I had read spoiler gig reviews already and knew there were two planned encores, but I just sort of flopped down in resignation at this point. Some asshole had ruined the show. I'd be surprised if Crimson ever came near Texas again, nevermind Fort Worth. I wouldn't blame them, either. The audience was noisy as shit and they fraggin' hit Fripp on the head. If I ever see someone throwing something at a stage again, I'll have to strongly consider the opion of facing the assault charges to explain proper ettiquette to that person... To my pleasant surprise, they came back anyway. They broke into a ripping VROOM with the Coda this time. And then they did Walking on Air and left again. During the whole encore, though, I noticed that not one of them was smiling. Not even Bruford. Belew looked positively pissed off. Still, they did the second encore, too. Almost as soon as they left the stage, roadies came in and set up some drums in the front center. Bruford, Mastellato, and Belew (!) came out and did a three drummer routine on 5 drums (I'm ignorant enough of music to be able to identify the drums). I saw a previous gig review which said this set replaced The Talking Drum, but, lo, they did the Talking Drum ALSO. Belew, incidentally, started smiling again... and then they did Larks' Tongues in Aspic Part II. A little about me: the way I 'dance' to music involves sitting down. I sit, I sway some, I swing my shoulders and rock my neck some... and I do a lot hitting my thighs and knees with my hands. The rhythm I use follows the lead instrument more than the percussion. Some people dance standing, I dance like this. I've not been able to really get into 'normal' dancing, though I tried frequenting a dance club a few months back. Alcohol and social pressure can get me onto a normal dance floor, but I appreciate Crimson much better sober. This comes up now becuase LTiAp2 is my favorite song. (Yes, yes, I know I claimed Discipline was. they're both right. deal with it). When it played, I was hitting myself very hard, and swinging my fist up and down with the main guitar... this was within my sitting space, and I never raised my hand over my head... it's just bizarre looking, but makes perfect sense in the method in which I dance to the music. (in retrospect I've figured out that yes, that really is a bruise on my left thigh I didn't have before tonight. oops). LTiAp2 moves my whole being and I was swaying and 'drumming' with great enthusiasm when I noticed that Belew seemed to be looking at me. Naturally, I figure he's looking past me, but my smile broadens... it's during one of the progressive-build-up parts of the song. As my smile broadens, so does his. So I smile more, and so does he. So I surrepticiously make the 'thumbs up' with my left hand and he nods and starts paying attention to different parts of the audience. Well, I know it's probably coincidental timing, and guys on the stage looking into the audience look like they're looking at you no matter where you're sitting, but in my little dream world, he was looking at me, happy with my enthusiasm. The song builds and builds and during the final screeching bit I finally stoped 'dancing' and just sort of opened my arms out in front of me. I felt practically levitated from the chair (though I remained sitting). Never before had I had a glimmer at all of the 'flow of energy' thing that my pagan friends talk about, or that I've heard martial arts teachers harp about. But for once, for almost the last 5 minutes of the song, I felt an energy between me and the band. It moved through me, and at the end, with my arms outstretched, it lifted me higher and higher and the intensity of the feeling was like an orgasm. Except it was better than sex. I've always been passionate about listening to music (though totally untalented at reproducing it)... I always cry for sad songs, even the same ones, over and over... and my moods can swing just by changing songs... I just let the music fill me. But this was the first time it filled me so... utterly. This was the first time I felt something flowing within and without me... Amazing show. The fact that they came back after the way the audience treated them demonstrated what great performers they are. Willing to go all out, even for less receptive crowds. And they transformed me. I'm hoping that Austin and Houston treat them better, so they'll consider coming back to Texas next time. Austin is, afterall, the bastion of intellectualism in the hick cesspool that is Texas (Ha. That should garner some flameage). In any case, I'll find out tomorrow and the next day, because I'm seeing them in Austin tomorrow and Houston on Thursday. Gig reviews will follow, naturally. --silver Harloe-- silver at eden dot com http://www.eden.com/~silver "I am the soul of honor, kindness, mercy, and goodness. Trust me in all things." [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 1995 21:44:12 -0600 From: penseur at intellex dot com (Ed Poe) Subject: DOUBLE REVIEW: Ft Worth / Austin Yeah, I realize this is late, but I had farther to drive than the guys who wrote the earlier reviews (who live in Texas). I drove down from Tulsa to D/FW for the first show on Halloween - got caught in a wreck on US 75 in Richardson (north suburb of Dallas for those not familiar with the area) and took an hour out of my extra time so I had no dinner before the first gig. This after just getting my car back from the LAST time I got rear ended (twice in two months really sucks). Enough about me. Actually, not enough about me. I had tried to get a ticket by phone for the FW gig, and was told by STAR tickets (after they said they had a seat 6th row, right of center) they couldn't sell over the phone anymore - I would have to buy my ticket at one of their cash-only (and Dallas-only) locations - which sucks, since I live a 4 hour drive away. So I had a friend pick me up a ticket, but hers came from Ticketmaster, not STAR - and it was row W, on the left wall. Once I got to the hall, I tried to exchange it, but had to buy a new ticket and scalp the old one - plus, the STAR ticket (bought at the door) cost $26 (with service charge) and the Ticketmaster one (bought in advance) cost $29.50. Turns out the reason that STAR couldn't sell me a ticket over the phone was that Ticketmaster wouldn't let them. Some contract deal. Hmmph! My first dealings with Ticketmaster, and they were quite unpleasant. Yuck. Onto the shows: The program for both shows follows, in performance order: --------------------------------------------------- Opening Soundscape - Fripp starts with House lights up, then they dim, and the rest of the band meander onstage and join him. Belew is last, and gives the cutoff. Thela Hun Ginjeet People (Fort Worth only) Red Frame by Frame Dinosaur One Time VROOOM VROOOM Soundscape - Fripp remains onstage, the others depart. Bruford and Mastelotto return and the Soundscape segues into: B'Boom THRAK - The head was followed by a freeform improv (although I did recognize some of what Bruford and Gunn were playing, but couldn't recall what it was) - and then a full stop, followed by a crashing reprise of the head. Neurotica Three of a Perfect Pair Sex Sleep Eat Drink Dream Matte Kudesai (Austin only) Improv (Two Sticks, to use the name on the B'Boom disc) Elephant Talk Indiscipline ------------------ VROOOM - followed with the Coda Walking on Air ------------------ B'Bish - Belew / Bruford / Mastelotto drum trio The Talking Drum Larks' Tongues in Aspic: Part Two -------------------------------------------------------------- Notes: Belew was in better voice in Fort Worth than in Austin - he sounded somewhat strained early in the Austin gig, but did warm up into it. His playing, however, was much more interesting in Austin. The crowd was much better in Austin. They were more appreciative of the music, and didn't seem more intent on the beer than the music (unfortunately, in Dallas, people kept getting up for more beer or to pee away what they'd had, which was distracting). Also, as mentioned before, nobody threw anything at the stage in Austin. Anyway, where I was sitting in FW, it looked like Fripp wasn't really hurt, just hamming up the moment. After sitting on the Right Center aisle in FW, I chose to sit on the Left Center in Austin. I began to develop a theory that Trey Gunn is merely there to confound all the geeks who have to know at all times who's playing what - he moves his fingers a lot, but you don't hear anything - is this a plot to distract and confuse Crimheads? Actually, after sitting closer to him (sixth row) I figured that his parts mesh with Fripp's more often than not, and often seem to be textural and not lead lines. When he _is_ featured, his tone has little attack - necessary to cut through all the noise if you wish to be individually 'heard' (my guess he doesn't). They could mix him up if they wanted to, so I figure they're all happy with his part as it is. What amazed me both nights was the amount of interplay between musicians - Mastelotto is not just some guy who beats the skins really hard - he's interacting with everyone else onstage (and producing a remarkable variation in tone from someone who is written up everywhere as 'the loudest drummer so-and-so has ever heard'). Bruford and Mastelotto seemed to be having a blast playing with and against each other. Also, there is no real 'Lead' on any part, (neither lead instrument or trio). Fripp and Gunn do appear to play texture parts more than Belew or Levin, but it is only appearance. Many of the screaming licks come from the man sitting calmly at the back, not the one bouncing around the front. In contrast to others who saw both shows, I don't think Belew was annoyed by all the calling out during 'Indiscipline' - why would he leave such a big pause if he wasn't trying to get something from the crowd (calls of 'YOU DID! YOU DID!)? 'Red' Has a surprising amount of dynamic contrast in live performance - the 'march' section in the middle (as I think of it) was very nicely restrained, which set off the full gale force of the loud parts very well. Lots of eye contact from band members to audience - especially in Austin. Mastelotto and I made faces at each other for a while. I was concentrating on individual members of the band, and he caught me admiring his technique, so I gave him a thumbs up and we went from there. 'One Time' is deeply moving live. The response to the full stop in THRAK was different each night - the FW crowd applauded (admittedly, the improv did seem to 'end' and not just stop) and the Austin crowd waited in anticipation. The amazing thing was that there was no cue for the reprise - they were all motionless on stage, and then all of a sudden it's THRAK. Wow. Larks' Tongues is genuinely frightening, and I knew it was coming. How six people can do that is a matter of some interest. On my way back to Tulsa, I stopped in Norman to see some friends and made a bartender supremely jealous of my attendance at the concerts (his words were, let me see, "Fuck you.") Anyway, he thinks Crim must have sold their souls to Satan, and that's how they can play like that. I was so impressed by the CGT I now own both their CDs, and the RFSQ and Intergalactic Boogie Express CDs as well. I recommend buying the book - lots of fun information, and it looks really cool too. Finally, a rebuttal: ohfuchi at csrp dot tamu dot edu (Wataru Ohfuchi) wrote in ET 234: >They reproduced what I can hear on ``Thrak'' and >perhaps on ``B'boom'' which I have not listened to yet. Ummmm, no. You will never get the kind of result from a CD that I got from those versions of THRAK, Neurotica, or Larks' Tongues (to name but three). Besides, I drove 1000 miles round trip to see them, and I think it was more than worth it. :-) - e [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] From: richard helm Subject: Gig Review/Personal Observations Date: Fri, 3 Nov 1995 23:48:31 -0600 Fort Worth,Texas Will Rogers Auditorium Halloween Night 10-31-95 I'll start off by saying that I won't do too much talking about the play list,as I left my pen and paper for such in the car in my excitement to get to the gig...Suffice it to say it was pretty much the same as everywhere else in just a slightly different order. Review begins with a 4 hour drive from Oklahoma City to Fort Worth...Arriving in Fort Worth during rush hour traffic... (Special thanks to David Hollister [dhollist at iphase dot com] for the great directions to the theatre) Crimson and Jeff Beck blasting thu car cd player for brother to get aquainted with music... My brother and I milled about for a while in front of the auditorium checking out the incoming crowd....Since it WAS Halloween, I was making mental notes of the various costumes being sported for the EVENT... 1.The Black-Clad Coffee House Arty/Intellectual 2.The Hippie-with-a-haircut wearing Comfortable Shoes by Bass 3.The Black Leather Jacket and T-shirt 4.The Beer-Drinking College Student 5.The Rock-Concert Stoner 6.The Acid Casualty from the 70's 7.The Jeans and Basketball/Tennis Shoes 8.The Plain-Clothes Musician 9.The Came-from-a-Costume-Party A pretty good mix in my opinion.... Lots of beer drinking and cigarette smoking going on beforehand out in front..The tickets do say it's a non-smoking event after all. Into the theatre...Vendors are out of the cool KC family tree T-shirts..."come back at intermission..." they say...hoping they'll really have some at the break... What I thought were going to be excellent seats turn into just really great seats (left-center 5th row...directly in front of stage-right speaker array)...but I still have a great view of the stage...Visit with guys from Shreveport who are on E-Talk mail list...they've got Tix for tomorrow nights show in Austin.... CGT comes out and performs a short but blistering set...really enjoyed the Beethoven...Bolt out of seat near end of last piece.... "god i hope they have MY t-shirt!!!!"...T-shirt securely in-hand,return outside now observing more smoking and drinking between sets...Back inside the house lights dim,signalling the the band is about ready to perform... Darkened stage...Psuedo-classical music on house speakers...movement at rear of stage-center... "The Master Approacheth..." Robert appears...standing,peels off a few unheard riffs before assuming position on pedestal,center-stage,slightly behind drum risers...hard to tell where house music ends and soundscape begins...Excellent...I begin praying for a good mix,fearing the the worst due to positioning in front of speakers and reading of previous reviews.... The rest of the group appear as usual,amid calls of "Bruford is God",etc,with Adrian appearing last... Instruments firmly strapped in place (Adrian w/ dayglo Strat),soundscape begins to wind down,someone yells, "Looping Rules!"...Met by amused snickers by the musicians (myself included) in the crowd... Robert turns right on his stool to adjust unseen effects array and foot pedals..(with his left arm down by his side,he strangely reminds me of Baron Harkonnen from the movie "Dune")... Stage lights go up,and band breaks into "Thela"...met by many appreciative noises...My worst fears are realized!!!...The mix is even but muddy!!!...My brother finally appears in his seat,beer in hand,towards end of song...I ask him how the sound is near the back...He comments it's only slightly better...Guitars seem under-mixed in my opinion...Thela ends.... Adrian makes reference to the "First King Crimson Texas Tour"...Cheers rise from the throng...this is followed by a call for "Free Bird"...more amused chuckles...Adrian says "Well it IS Halloween...Hope we have something scary for you"...This is followed by another call for "Free Bird"...Christ! it was only funny the FIRST TIME!!!...Band breaks into next cut....(oh geez!!! where's my pen and paper!!!!!).... The mix gets a little better as the set rolls on,but barely...More calls for "Free Bird" after every song...I'm feeling a little edgy now...This could get UGLY!!!...I notice that all during the show,Robert is never directly lighted as previously posted...I wonder if he's not giving up any riffs to direct view to be stolen... Second soundscape begins...Some beer-drinking Wayne's World "We're-not-worthy"-type sitting in front of us begins loud whistling at every changing nuance during the 'scape...This is met by glares and s-h-h-ing,but to no avial...Band breaks into "One Time" (my current favorite)...noisy guy quiets down... Set continues...On either VROOOM or Talking Drum solo (again apologies for lack of play list) another one of the Waynes World types in front jumps up with beer in hand and begins cavorting causing The Hippie-With-A-Haircut sitting next to him to cringe trying to preserve his space and not get beer spilled all over him (poor guy!)...More selections from Thrak... During last selection before Indisipline,Adrian breaks string on Dayglo strat...He's standing there shaking his right hand as if part of the broken string had skewered his picking hand...Adrian looks around for a few seconds as if waiting for a roadie to appear to fix busted string...no roadie...Ardian places strat on stand,says something to Tony,and leaves stage....Band members mill around for 30-45 seconds before breaking into intro for Indisipline...roadie finally appears to take stricken Strat backstage....Still no Adrian...Band seems to be improv-ing on Indisipline intro (2-3 minutes) awaiting Adrians return....It went on for ever... Adrian finally re-appears looking a little miffed and still shaking right hand...Adrian straps on Red Les Paul guitar,frowning as if this isn't the instrument of choice for this song...Audience recites with Adrian during spoken part of Indisipline...Song ends and band leaves stage....Much cheering and aisles fill up with people moving up front from rear...Chants of "More...More...Continue..." etc,fill the hall...Band reappears on stage under white stage lights for bows and backslapping..... WHEN SUDDENLY.... An object from the opposite side of the room from where I was (it looked like either a program or a plastic water bottle) comes flying through the air and strikes ROBERT in the HEAD just above his left ear....Robert looks stunned...This is met with"Boo's" and people turning in the direction of where the offensive object came from...Robert rubs his head and suddenly exits the stage.. I'm thinking,"Oh Great!!!! There goes the Encores..." Audience keeps cheering...cheering...cheering....Stage lights go down... Roadie comes out and replaces Dayglo Strat with what looks like an ivory(?) colored Strat on guitar stand Band re-appears with a hesitant-looking Robert appearing last...Calls of "We love you,Robert!" and "Are you alright?" come from crowd...Walking On Air begins...Excellent...For some unknown reason mix seems much better for last 2 songs....Band exits again... Much scurrying about by roadies as they set up for Bill,Pat,and Ardian's drumming encore...Adrian is still shaking right hand (hope he's not too badly injured)...Then it's over.....House lights come up....Call the guys from Shreveport dogs for being able to go to two shows (I had to take unpaid day off from work)...Mill around in back of theatre and finally break down and spend $20 for black THRAK ballcap...Look back inside theatre and see Tony sitting in about the 7th row center talking with some people and try to appraoch him to get THRAK cap signed...Get chased off by Event security guys....Oh well.... Start long drive home at about 12:30 in rain...During pit stop at Love's in Texas,bump into fellow concert-goers from OKC (a friend of theirs who couldn't go at the last minute gave them FRONT ROW CENTER seats!!!!)...Some people have all the luck!!! Rain begins to fall harder and have to pull off road for half hour waiting for it to pass...Windshield wiper breaks off in Oklahoma and have to effect repairs in the driving rain...Getting sleepy...Pull off road about 4:15 to rest uncomfortably in sports car...Finally get home and into bed about 7:30am.... All in all...A night I'll never forget... richard RIXTOY at thor dot net "Everything I say is a lie...And that's the truth!" [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] TICKET SHOP [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 03 Nov 1995 11:09:45 -0500 From: gjohnson Subject: E-Talk: Tix for sale Tickets for Sale: I cannot attend KC show @ Longacre on Monday November 20. 5 Tickets available - 15th Row center. If interested, please call: John Urich (609) 844-0074 Lawrenceville,N.J. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Fri, 3 Nov 1995 17:22:38 -0500 (EST) From: Gideon B Banner Subject: New Haven tickets, pleeease I'm still looking for two tickets to the New Haven KC show that are somewhat better than row X. If anybody has any or knows of any means by which I can get better tickets, please write me at ggggbbbb at minerva dot cis dot yale dot edu. Thanks a bunch. [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] Date: Wed, 8 Nov 95 07:52:43 PST From: "Be Sociable, Have a Pepsi (1959) 08-Nov-1995 1050" Subject: Ticket for Nov. 17 Concert in Springfield, MA Dear Crimson friends, I have one tickect available for the KC concert at Parammount theater in Springfield, MA on November 17. If you are interested you can call me at (508) 568-7400 or e-mail me at ramirez at hlo dot mts dot dec dot com Jose [][][][][][][][][][][][][][][][][][][][][][][][][][][][][] The views expressed in Elephant Talk are those of the individual authors only. Elephant Talk is released for the personal use of readers. No commercial use may be made of the material unless permission is granted by the author. Toby Howard, Elephant Talk editor. http://www.cs.man.ac.uk/staff-db/toby-howard.html toby at cs dot man dot ac dot uk [][][][][][][][][][][][][][][][][][][][][][][][][][][][][]